Finding your Counterpoint 1:1 video back in 2021 put me on a creative path I never could have foreseen and now I know I can never abandon composition as a part of my life. I am primarily self taught and at the time I was in a rut. Your video series presented me with a whole new deal on music. I shall never forget it!
Congrats on getting an article published in MTO! I've been following your channel for a while, and it's cool to see you getting some wider academic recognition. Good job!
Not even halfway through and already excited enough to pause to express my appreciation. Great that you mention Elam Rotem's video on the historical approach - I gave that a go and there's just too much trial and error involved to make it easy. This approach is just fascinating (as is the whole series; I'd always been miffed that we number intervals from base 1 instead of base 0 and it's gratifying to see someone has already taken that and run with it).
Also, now that I think about it, you could expand this concept to figure out triple and cuadruple counterpoint, putting the icf below and above, at different intervals even. I think figuring out how to connect these ideas with baroque figured bass should be the next point of thought, as suspended chords and inverted sevenths should make the planning easier. Gallant schemata could be explored with this focus too🎉
this is extremely helpful! great to see more application of the principles we learned from your previous taneev videos. also hats off for the very elegant solution in m4 with the first canon!
Excellent. I had tried to understand Taneev from the English translation but I gave up. Your videos are much clearer. Can I suggest that you use Noteperformer to make the audio in your examples. Dial down the reverb in it and balance the instruments against each other and then the audio will be clearer.
Heyyy Dr. Gran! Where you been doc? I am a faithful watcher of your counterpoint series. I make my friends do the homework assignments from your earlier vids to help us with making music. Thanks for posting a new vid!
I did my undergraduate thesis on the ricercares of Froberger, who went to Rome and studied with Frescobaldi, who had also written ricercares in strict counterpoint. Both were influences on JS Bach, who posessed pieces by Frescobaldi. If Fux had covered these techniques, maybe they would have survived?
Sorry if this question sounds a bit flat, but essentially using the imaginary voice of the cantus firmus directly wouldn't help us find a good skeleton for the canon?
In the final product, you tie a half note to a whole note and then some. I don't believe we would see a note length like this in strict counterpoint. Is that correct?
The only non-standard note length I have ever seen in Renaissance music was notated in a very strange way: a breve with the right half blackened. A black semibreve and black minim (looks like a crotchet) can be used together to represent two thirds and one third of the original semibreve, but more often they mean three quarters and one quarter, so the black minim actually is a crotchet, and the black semibreve is an alternative to a dotted minim. The half-blackened breve, then, combined the semibreve and dotted minim to represent the illegal value of 7 crotchets. The 5 crotchets' value I have not seen anywhere.
Thank you for reminding me! I added a link to his first book in the description. His posthumous book is available at the University of Arizona website as Paul Grove's dissertation.
![Witold Lutosławski - Symphony No. 4 (1988-1992) [Score Video]](/img/n.gif)
Finding your Counterpoint 1:1 video back in 2021 put me on a creative path I never could have foreseen and now I know I can never abandon composition as a part of my life. I am primarily self taught and at the time I was in a rut. Your video series presented me with a whole new deal on music. I shall never forget it!
Congrats on getting an article published in MTO! I've been following your channel for a while, and it's cool to see you getting some wider academic recognition. Good job!
Not even halfway through and already excited enough to pause to express my appreciation. Great that you mention Elam Rotem's video on the historical approach - I gave that a go and there's just too much trial and error involved to make it easy. This approach is just fascinating (as is the whole series; I'd always been miffed that we number intervals from base 1 instead of base 0 and it's gratifying to see someone has already taken that and run with it).
This is history in the making. Hundreds of musicians will be helped with your work.
Also, now that I think about it, you could expand this concept to figure out triple and cuadruple counterpoint, putting the icf below and above, at different intervals even. I think figuring out how to connect these ideas with baroque figured bass should be the next point of thought, as suspended chords and inverted sevenths should make the planning easier. Gallant schemata could be explored with this focus too🎉
Also, just realized, in the first example you could use a G clef for the ICF, so you remember that fourths can be used too. 😊
Feel free to make as many videos as needed about his posthumous book if the material is too vast for one video!
I look forward to reading your research article. Imaginary voices are seriously poweful!
this is extremely helpful! great to see more application of the principles we learned from your previous taneev videos. also hats off for the very elegant solution in m4 with the first canon!
Thanks so much teacher for this kind of teachings!!
Thank you for your work and making it accecible to young composers.
The end result was marvelous.
Love from
India
Excellent. I had tried to understand Taneev from the English translation but I gave up. Your videos are much clearer. Can I suggest that you use Noteperformer to make the audio in your examples. Dial down the reverb in it and balance the instruments against each other and then the audio will be clearer.
Amazing! This is so useful! Thank you for always bringing good educational content
Heyyy Dr. Gran! Where you been doc? I am a faithful watcher of your counterpoint series. I make my friends do the homework assignments from your earlier vids to help us with making music. Thanks for posting a new vid!
Amazing! I feel like several streams are converging: Is there about to be a musico-technical revolution on youtube?
I did my undergraduate thesis on the ricercares of Froberger, who went to Rome and studied with Frescobaldi, who had also written ricercares in strict counterpoint. Both were influences on JS Bach, who posessed pieces by Frescobaldi. If Fux had covered these techniques, maybe they would have survived?
Bravo.
Great video! Could the imaginary voice somehow help us compose canons even without a cantus firmus?
Sorry if this question sounds a bit flat, but essentially using the imaginary voice of the cantus firmus directly wouldn't help us find a good skeleton for the canon?
In the final product, you tie a half note to a whole note and then some. I don't believe we would see a note length like this in strict counterpoint. Is that correct?
Well depends. There is something in Mensural notation known as alteratio per partem remotam I think, sth. that makes strange modern ties possible
But not in equal tactus most likely
The only non-standard note length I have ever seen in Renaissance music was notated in a very strange way: a breve with the right half blackened. A black semibreve and black minim (looks like a crotchet) can be used together to represent two thirds and one third of the original semibreve, but more often they mean three quarters and one quarter, so the black minim actually is a crotchet, and the black semibreve is an alternative to a dotted minim. The half-blackened breve, then, combined the semibreve and dotted minim to represent the illegal value of 7 crotchets.
The 5 crotchets' value I have not seen anywhere.
Would love to get my eyes on Taneiev's texts....
Googling 'Convertible Counterpoint in the Strict Style' is useful for "sourcing" that particular book of Taneyev's.
Thank you for reminding me! I added a link to his first book in the description. His posthumous book is available at the University of Arizona website as Paul Grove's dissertation.
it is like geometry lessson, it is diffuclt to explain an unknown subject in unknown termsi maybe you should give up Sergei Taneiev method!